by Jack Grimme, Contributing Writer
Splitsville is a uniquely modern comedy that dives deep into the complicated nature of relationships, both romantic and platonic. Fittingly, the two male leads, Michael Angelo Covino (Paul) and Kyle Marvin (Carey), penned the screenplay as a pair, with Covino pulling triple duty as director. This messy, moderately confusing dynamic seems to perfectly mirror the film’s purpose and perspective. Best friends Carey and Paul are in long-term relationships with Ashley (Adria Arjona) and Julie (Dakota), respectively. When Ashley voices her intent to divorce Carey just over a year after their nuptials, he seeks solace in his close friends. Further spiraling ensues as he starts to see through the veneer of Paul and Julie’s seemingly infallible bond. Lines are crossed, commitments are corrupted, and punches are thrown.
The core strength of this film is the deeply personal examination of these interconnected lives. From the jump, it is relatively clear that these people, particularly the four leads, care for each other. People might grow apart, and those closest to you are inherently capable of the deepest cuts, leaving unavoidable scarring. But throughout the film, the quartet manages to showcase quite clear bonds. This is absolutely paramount for the structure of the film. The audience must believe that forgiveness can be achieved in spite of the heinous acts and obliterated boundaries that occur with shocking regularity. Endless twists and turns. Break-ups, make-ups, and shake-ups in just about every scene. And, impressively, there is only one conclusion that feels somewhat forced. Massive props to the main creative pair for producing a genuinely unpredictable, standalone comedy in the modern day.
Certain elements of the film also challenge the audience to communicate and maintain clear boundaries without taking everything too seriously. This is complemented quite well by the tone. I hesitate to call this a romantic comedy, because while romantic relationships drive the film, it never steeps itself in the drama of it all. Somewhat serious conversations are typically played for laughs, and the explosive fights prioritize physical comedy, without a care for the longterm repercussions that would occur if you were slammed through a plate glass window in real life. It perfectly complements the tone of the film, understanding that modern relationships can be complicated and border on the absurd — but it still respects the fact that genuine love can exist in these circumstances.
It is particularly impressive that this nuanced reflective comedy was composed by a few people that are relatively unknown in the current scene. It is not necessarily the first project they worked on, but this is the first time Marvin and Covino have led on screen. And pulling Johnson and Arjona into mix is a perfect way to get eyes on the film, as they are far more recognizable for modern audiences. Unfortunately, it seems like this is playing second fiddle to Johnson’s other relationship-focused film from this year, Materialists, but it is admittedly hard to compete with Celine Song. There will almost certainly be individuals who conflate and confuse the two as time goes on, which is a bummer, because they are quite distinct. Regardless, this genre of authentic relationship-centered projects with limited casts and some humor seems to be where Johnson absolutely shines. With this film joining the aforementioned Song feature, Am I Okay?, and Cha Cha Real Smooth.
On the other hand, hopefully Splitsville will continue to draw eyes to Arjona, because she is a charismatic, comedic talent with tremendous potential. Specifically, someone needs to get Splitsville in front of James Gunn, because the blend of confidence and light-hearted humor on display might just lend itself to a memorable tenure as Wonder Woman. The supporting crew is similarly impressive, with a highlight of the film being Arjona’s increasingly packed apartment as she accumulates unwelcome roommates.
The main thing holding this film back from being truly exceptional is a consequence of the aforementioned messiness. The unpredictable, broad nature of the story can lead to some beats being underdeveloped. There are a handful of scenes that pop up out of nowhere with limited context, but quite a few implications for the story, that are just jarring. The core four suffer the most from this at the end of the film. Their status quo is swiftly disrupted in the first act, sending each lead on their own emotional journey. The middle of the film sees each of the ensemble exploring different relationships and consequences of a big split. These portions of the narrative are engaging and funny, but either lack a strong core message, or has a clear message that is somewhat undercut by the climax. Every puzzle piece clicks to some extent, but there are some visible irregularities and gaps that lead to a conclusion that lacks some punch.
But this qualm is far from a killing blow. Especially given the inherently complex subject matter that is being picked apart through the narrative, and the structure of their respective journeys. Splitsville is a personal, passionate project with seemingly no buzz, despite the latter half of the year lacking memorable releases.
Rating: Liked It
Splitsville is currently playing in theaters
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